Popular Culture Review 29.2
es the pantheon of superheroes by representing restorative justice , which is part of a more comprehensive approach to crime-fighting , in which mediators work with victims and offenders to try and overcome the roots of crimes and heal communities . This philosophy is merely one among many that could have a place in America ’ s considerations about justice , but it has not developed the same cultural awareness as the capture or murder of the majority of superheroes . This is partially because before 2017 , the only time Wonder Woman was in the live-action spotlight was her 1975-1979 television series . Despite Wonder Woman ’ s publication in comic books since 1941 , a commonly accepted sentiment is that her brand of justice is difficult for a superhero format . However , Wonder Woman ’ s perceived difficulty has largely been the result of society ’ s desire to suppress her over the course of her existence . From 1975-1979 , the Wonder Woman live-action television series , also known as The New Original Wonder Woman and The New Adventures of Wonder Woman , gave the character ’ s philosophy every reason to take off in the popular consciousness . An analysis of the series reveals a key stylistic link in the development of superhero adaptations between the Batman 1966-1968 television show and the 1978 Superman film that faithfully and clearly adapted Wonder Woman ’ s philosophy into a mainstream 1970 ’ s television format . The series was suppressed , undone , and discredited , with the potential role of Wonder Woman as a figure of justice obscured
KEYWORDS
Wonder Woman , superheroes , television , film , Superman , Batman , Lynda Carter , feminism , misogyny , sexuality , gen-
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